Kino on saatan, kes imeb su rinda

Where does cinema end and life begin? But the other way around? In his witty and sluttily lush essays on Russian cinema and its creators, Vaapo Vaher answers neither question, but shares hints, both good and bad, that help us see that the camera is never the boundary between one reality and another, but a dispassionate center that captures equally what is in front of the lens and what swings through the eyepiece. To balance this dispassion, the author of the book himself remains fiercely subjective. As a devoted admirer, the author describes Russian filmmakers throughout the 20th century, exalting the creators' stardom to the sky and dwelling on their moments of weakness with the jealousy of a deceived youth. Let us not look for the only truth here, but with the help of the book we have picked up, perceive the rich colors on a black-and-white film and hear the words of love on a silent soundtrack.